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Set between Holland and a remote Indonesian island, this intimate magical realism novel offers “an offbeat narrative that has the timeless tone of a legend” (Time). “Dermoût’s sentences came at me like a soft knowing dagger, depicting a far-off land that felt to me like the blood of all the places I used to love.” —Cheryl Strayed, author of Wild The Ten Thousand Things is at once novel of shimmering strangeness—and familiarity. It is the story of Felicia, who returns with her baby son from Holland to the Spice Islands of Indonesia, to the house and garden that were her birthplace, over which her powerful grandmother still presides. There Felicia finds herself wedded to an uncanny and dangerous world, full of mystery and violence, where objects tell tales, the dead come and go, and the past is as potent as the present. First published in Holland in 1955, Maria Dermoût's novel was immediately recognized as a magical work, like nothing else Dutch—or European—literature had seen before. The Ten Thousand Things is an entranced vision of a far-off place that is as convincingly real and intimate as it is exotic, a book that is at once a lament and an ecstatic ode to nature and life.
The story of colonial collecting is complex and full of contradictions. Collectors often appreciated the 'other' cultures where they obtained collections, but at the same time they had a close relationship with the colonial authorities who were willing to subjugate societies with military violence. This book addresses colonial collecting with examples from the Dutch East Indies and, by means of comparison, with a discussion about collecting in British India. Since the 1990s the phenomenon of collecting has become an important part of anthropological discourse. This development touches upon the foundations of the discipline, since it throws light on how the white colonizers dealt with local cultures, and thus on how the formation of the anthropological discourse took place. The study of collecting can help us to develop an anthropology of intentionality, instrumentality and desire, as Anthony Shelton argues in one of the contributions to this book. Objects do not stop 'to live' when collected. Margaret Wiener discusses the magic of the kris, which is influential even in Europe, far from the context in which the magic is created. Other chapters treat in detail the military entanglement with collecting in the Dutch East Indies. There is also attention for ethnographic collecting in the context of scholarly activities, particularly in the chapter by Ruth Barnes. The broad picture of colonial collecting ,as presented in this book, includes an analysis of the appropriation of the Indonesian Hindu-Buddhist culture by means of collecting Javanese antiquities, detailed descriptions of colonial wars (North Sumatra, South Sulawesi, Bali and Lombok) and a discussion of the cultural heritage of the Ethische Politiek. With contributions by Ruth Barnes, Francine Brinkgreve, Hari Budiarti, Brian Durrans, Wahyu Ernawati, Pieter ter Keurs, Susan Legêne, Pauline Lunsingh Scheurleer, Anthony Shelton, Harm Stevens, David Stuart-Fox and Margaret Wiener.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Following a brief introduction to the Arts and Crafts Movement, this text chronicles the arrival of a succession of artists, architects, craftsmen and designers in the Cotswolds during the second half of the 19th century. Having come under the influence of William Morris, they sought to realize in the Cotswolds the ideals of the Arts and Crafts Movement, with its emphasis on the importance of creative manual work and the breakdown of the barrier between designer and maker, looking for inspiration to the English countryside.
“Have nothing in your house that you do not know to be useful, or believe to be beautiful.” This quote alone from William Morris could summarise the ideology of the Arts & Crafts movement, which triggered a veritable reform in the applied arts in England. Founded by John Ruskin, then put into practice by William Morris, the Arts & Crafts movement promoted revolutionary ideas in Victorian England. In the middle of the “soulless” Industrial Era, when objects were standardised, the Arts & Crafts movement proposed a return to the aesthetic at the core of production. The work of artisans and meticulous design thus became the heart of this new ideology, which influenced styles throughout the world, translating the essential ideas of Arts & Crafts into design, architecture and painting.
This lively work of cultural history tells the stories of five young art patrons who, in the last 1920s and 1930s, were instrumental in bringing modern painting, sculpture, and dance to America. A combination of wealth, Harvard education privilege, and family connections enabled Lincoln Kirstein, Edward M. M. Warburg, Agnes Mongan, James Thrall Soby, and A. Everett (Chick) Austin, Jr., to introduce the work of Picasso, Balanchine, Calder, and other important artists to the United States.
Nicholas Fox Weber, author of the acclaimed Patron Saints (“Exhilarating avant-garde entertainment”—Sam Hunter, The New York Times Book Review) and Balthus (“The authoritative account of his life and work”—Michael Ravitch, Newsday), gives us now the idiosyncratic lives of Sterling and Stephen Clark—two of America’s greatest art collectors, heirs to the Singer sewing machine fortune, and for decades enemies of each other. He tells the story, as well, of the two generations that preceded theirs, giving us an intimate portrait of one of the least known of America’s richest families. He begins with Edward Clark—the brothers’ grandfather, who amassed the Clark fortune in the late-nineteenth century—a man with nerves of steel; a Sunday school teacher who became the business partner of the wild inventor and genius Isaac Merritt Singer. And, by the turn of the twentieth century, was the major stockholder of the Singer Manufacturing Company. We follow Edward’s rise as a real estate wizard making headlines in 1880 when he commissioned Manhattan’s first luxury apartment building. The house was called “Clark’s Folly”; today it’s known as the Dakota. We see Clark’s son—Alfred—enigmatic and famously reclusive; at thirty-eight he inherited $50 million and became one of the country’s richest men. An image of propriety—good husband, father of four—in Europe, he led a secret homosexual life. Alfred was a man with a passion for art and charity, which he passed on to his four sons, in particular Sterling and Stephen Clark. Sterling, the second-oldest, buccaneering and controversial, loved impressionism, created his own museum in Williamstown, Massachusetts—and shocked his family by marrying an actress from the Comédie Française. Together the Sterling Clarks collected thousands of paintings and bred racehorses. In a highly public case, Sterling sued his three brothers over issues of inheritance, and then never spoke to them again. He was one of the central figures linked to a bizarre and little-known attempted coup against Franklin Delano Roosevelt’s presidency. We are told what really happened and why—and who in American politics was implicated but never prosecuted. Sterling’s brother—Stephen—self-effacing and responsible—became chairman and president of the Museum of Modern Art and gave that institution its first painting, Edward Hopper’s House by the Railroad. Thirteen years later, in an act that provoked intense controversy, Stephen dismissed the Museum’s visionary founding director, Alfred Barr, who for more than a decade had single-handedly established the collection and exhibition programs that determined how the art of the twentieth century was regarded. Stephen gave or bequeathed to museums many of the paintings that today are still their greatest attractions. With authority, insight, and a flair for evoking time and place, Weber examines the depths of the brothers’ passions, the vehemence of their lifelong feud, the great art they acquired, and the profound and lasting impact they had on artistic vision in America.